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Successful Rural Plays 

A Strong List From Which to Select Your 
Next Play 

FARM FOLKS. A Rural Play in Four Acts, by Arthur 
Lewis Tubes. For five male and six female characters. Time 
of playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer's daughter, is engaged to Philip Burleigh, a young New 
Yorker. Philip's mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. She agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is a simple 
plot, but full of speeches and situations that sway an audience 
alternately to tears and to laughter. 

HOME TIES. X Rural Play in Four Acts, by Arthur 
Lewis Tubes. Characters, four male, five female. Plays two 
hours and a half. Scene, a simple interior — same for all four 
acts. Costumes, modern. One of the strongest plays Mr. Tubbs 
has written. Martin Winn's wife left him when his daughter 
Ruth was a baby. Harold Vincent, the nephew and adopted son 
of the man who has wronged Martin, makes love to Ruth Winn. 
She is also loved by Len Everett, a prosperous young farmer. 
When Martin discovers who Harold is, he orders him to leave 
Ruth. Harold, who does not love sincerely, yields. Ruth dis- 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. 

THE OLD NE^V HAMPSHIRE HOME. A New 

England Drama in Three Acts, by Frank Dumont. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural drama of 
the "Old Homstead" and "Way Down East" type. Two ex- 
terior scenes, one interior, all easy to set. Full of strong sit- 
uations and delightfully humorous passages. The kind of a play 
everybody understands and likes. 

THE OLD DAIRY HOMESTEAD. A Rural Comedy 
m Three Acts, by Frank Dumont. For five males and four 
females. Time, two hours. Rural costumes. Scenes rural ex- 
terior and interior. An adventurer obtains a large sum of money 
from a farm house through the intimidation of the farmer's 
niece, whose husband he claims to be. Her escapes from the 
wiles of the villain and his female accomplice are both starting 
and novel. 

A WHITE MOUNTAIN BOY. A Strong Melodrama in 
Five Acts, by Charles Townsend. For seven males and four 
females, and three supers. Time, two hours and twenty minutes 
One exterior, three interiors. Costumes easy. The hero, a 
country lad, twice saves the life of a banker's daughter, which 
results in their betrothal. A scoundrelly clerk has the banker 
in his power, but the White Mountain boy finds a way to check- 
mate his schemes, saves the banker, and wins the girl. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Dark Moments 



A Black Face Sketch in One Act 



By 
DANIEL R. HARPER 




PHILADELPHIA 

THE PENN PUBLISHING COMPANY 

1922 






GOPYRIGHT 1922 BY ThE PeNN PUBLISHING COMPANY 



Dark Moments 



©CI,D 68260 
JAN -2 1923 



Dark Moments 



CHARACTERS 

Sam and Rumbo, two negroes in co7nplete field uniform. 
Time of Playing. — About twenty minutes. 




The trench can be made very simply by draping green or 
brown material over a row of chairs or tables. 



Dark Moments 



SCENE. — Night on the Western Front. 
{Curtain rises. No one is on stage. Lights are lozu.) 

Sam (outside). Comp'nee, halt! . . . You 
men wants to march better dan dat. Here we is, on 
de edge of No Man's Land, an' you comes along like 
fust- week rookies. Where am yo' pride? Don't you 
know dere am no better soldiers on de face of de 
yearth dan dis man's army? Now den, don' come 
along like ol' waddlin' ducks ; stick out yo' chests and 
jes' naturally prance along Hke bantam roosters. You 
gets me? All right,— 'Ten-shun! . . . Squads — 
right ! ... As you was ! Stick out dat chest an' 
tuck in dem feet, Number Three in de front rank. 
Does yo' want me to bust yo' over de face wid a ham? 
I guess de captain knows what he's a-doin', puttin' 
me in charge of dis de-tail; he knows I'se de bes' sol- 
dier in de bunch. For-r-war-r-r-d, — March! (Sam 
and RuMBO march on stage from l., Sam leading and 
RuMBO following directly behind.) De-tail, — Halt! 
Parade Rest, At Ease, Rest, Order Arms, Stack Arms, 
Park Yourself. (All this in rapid succession. They 
halt in center of stage. Rumbo wipes the sweat from 
his forehead. Sam, pompously.) Now den. De-tail, 
yo' am on de Western Front, an' befo' 

Rumbo (interrupting). Sam, how come yo' am al- 
ways callin' me " De-tail " ? What yo'-all mean by 
dat? 

Sam. Well, yo' knows where a dog's tail am? 



6 DARK MOMENTS 

RuMBO. Yes. 

Sam. An' yo' am always in back of me, ain't yo'? 

RuMBO. Huh ! 

Sam. So yo' am de-tail ! 

RuMBO (brightening). I sees. An' yo' am de dog, 
huh? An' if we was speakin' of pigs' tails, yo' would 
be de pig, huh ? 

Sam (pugnaciously) . Say, what yo' mean? 

RuMBO. Sam, dat am all right ! Dat am all right ! 
Yo' don't need to wag yo' tail. (Backing away.) 

Sam (strikes attitude and points off to r.). See 
dem woods over dere ? 

RuMBO (looking). I sees dem. 

Sam. Well, dey am de woods what de captain done 
told me to reconnoiter in. Does yo' know what's in 
dem woods ? 

RuMBo (gazing intently). No, I don't. 

Sam (importantly). Dey am full of machine-gun 
nests ! 

Rumbo (startled). Machine-gun nests! . . , 
Whut kind of eggs do dey lay in dem nests ? 

Sam. Ex- (e^r^^) -plosions. 

Rumbo. An' what do dey hatch ? 

Sam. Trouble ! 

Rumbo. Trouble, huh? Well, when yo' orders 
mine yo' kin let de trouble out. 

Sam (oratorically) . Never mind dat, man. Dis 
am war. Fall in! Come to 'tenshun! (They come 
to attention.) Brave men, we are here to do or die. 
Forward to dem woods, though we meet our death. 

Rumbo. If death meets me he's got to overtake 
me. 

Sam. Shut up ! Silence ! Hush ! Come to 'ten- 
shun ! Do yo' hear me? Snap to it ! If yo' gets scared, 
watch me an' see how a brave hero acts. 

(Sam steps to Rumbo's side and both stand at atten- 
tion, very much exaggerated. A shot outside. 
Both dive behind trench, where they remain for a 
short time, peering cautiously over the top. Sam 
advances from behind the trench and reconnoiters 



DARK MOMENTS 



very cautiously; Rumbo peers over top watching 
him. ) 

Rumbo. Sam! {No answer. Louder.) Sam! 

Sam. Yeah ; what am it, Rumbo ? 

Rumbo. What you-all see? 

Sam. Kain't see nothin'. It's so dark out yere yo' 
kain't see yo' hand in front o' yo' face. 

Rumbo. Say, niggah, dis am no time fo' pusson- 
alities. I ain't askin' yo' what kain't yo' see; I'm 
askin' what kin yo' see. 

Sam. An' ain't I telHn' yo' dat it am dark? Does 
yo' hear, — dark! I only wishes it was a little lighter 
so as yo' could see how dark it am out yere. (Sam 
continues reconnoitering. Backing away from l.) 
H-h-h-halt ! Who — who — who's dar? {Tremblingly.) 

Rumbo. Oh m-m-m-mah goodness, man, don't yell 
so loud. 

Sam. I wasn't yellin' loud. I were only talkin' to 
myself to see if I were still at mah post o' duty or 
whether I done run away. 

Rumbo {coming from behind trencJi). Sam, if yo' 
had your choice, which post would you want to guard ? 

Sam (Sam and Rumbo, c). Yo' means, if dey lets 
me pick which post I wants to guard, which does I 
se-lect ? 

Rumbo. Dat's It. 

Sam {considering). Well, I guess — I guess I'd se- 
lect to guard de Saturday Evening Post, {Shot out- 
side.) O-o-o-oh!! {Both run behind trench.) 

{A knocking is heard, slow at first, then faster.) 

Rumbo {peeping out). What's dat noise ? Sounds 
like a regiment a-marchin'. 

Sam. Dat sho ain't no regiment. Dat's only mah 
knees. 

Rumbo. Yo' ain't scared, is yo'? 

Sam {peeping out). Scared? Me? Ain't no use 
bein' scared. Don't yo' know dat yo' don't never hear 
de shell what hits yo'? 



8 DARK MOMENTS 

RuMBO. Yeah? Maybe yo' don't hear de shell 
what hits yo' but yo' ain't a-goin' to remember it long, 
neither. {Both crawl cautiously from behind trench, 
looking around carefidly.) Why am dis war, anyway, 
Sam? {Both stand.) 

Sam. I donno, Rumbo, why am dis war, but Pah- 
son Jones back home says dey am always goin' to be 
wars until de millennium comes. 

RuMBO. Until what comes ? 

Sam. De millennium ! 

Rumbo {awed). Sam Johnson, what am de millen- 
nium f 

Sam. It's jes' like de centennial, only it's got mo' 
legs, {pause) an' it's jes' like a foot-rule, somewhat. 
A foot-rule has ten tenths, don't it? 

RuMBO. I donno; I guess so. 

Sam. Well, it do. It has ten tenths; an' it has 
fifty fiftieths ; an' it has lOO hundredths. Now, den, 
how many thousandths do a foot-rule hab? 

Rumbo. Mah gosh, Sam, dere must be millions of 
dem! (Sam advances to l. and peers into distance.) 
What yo' lookin' for, Sam ? 

Sam {in a stage whisper). Germans! 

RuMBO. Yo' ain't lost any Germans, hab yo'? 

Sam {returning to c). Say, niggah, when yo' goes 
collectin' chickens, you looks where is de trees at, don' 
yo', so as yo' kin find yo' way back in a hurry? 

RuMBO {rubbing stomach). Chicken! Chicken! 
By de time I gets through winnin' dis war, mah hands 
won't be able to tell a White Leghorn from a Plymouth 
Rock in de dark. 

Sam {seating himself). How come yo' to get into 
dis fightin', Rumbo? 

RuMBO {also seated). I didn't come to get in no 
fightin'. I don come to get out of it. 

Sam {puzzled). What yo' mean — yo' come to get 
out of de fightin' ? 

RuMBO. Jes' what I says — I'se married. 

Sam. Was yo' wife hard on yo'? 

RuMBO. Was she hard on me? I'll say she was. 
Say, colored man, when we stood us up to be married 



DARK MOMENTS 9 

an' de pahson says to me, " Does yo' take this woman 
to be yo' lawful wedded wife?" I says, "I takes 
nothin'. J'se been tooked! "... Say, Sam, what 
yo'-all think of dis war ? 

(Shot outside.) 

Sam (leaping to his feet). It's some baby ! . . . 
Dis war reminds me of somethin' what happen de 
other day. The captain were a-examining me for to 
see why I should not be a corporal. An' he says to 
me, "Sam, whut do dey raise in Mexico?" An' I 
says to him, " Captain, suh ! I don't dare talk profane 
in front of a officer, so I can't tell you what dey raises 
in Mexico. But Gen'rul Sherman said it." 

(Both scratch.) 

RuMBO. Sam, what am de difference between a 
cootie an' a bug? 

Sam. Ain' much difference, boy. A cootie am a 
bug gone to war an' a bug am jes' a member of de 
Home Guard. But dey both does dere bit, all right. 

RuMBO. Ain't it about time one of us does some of 
dis re-re-re-connoitering? 

Sam. All right. I'll toss a coin. Heads, yo' goes ; 
tails, I stays here. (Tosses.) Heads it am, Yo' goes. 
(RuMBO Starts out slowly, then comes back and shoves 
Sam carefully to one side.) What yo' mean by dat, 
man? 

RuMBO (going r.). Don't yo' worry about what I 
mean by dat. Jes' yo' stays where I puts yo', 'cause 
when I comes back mah brakes might not work. 

(Starts out, R.) 

Sam (calling after him). Where yo' want yo' body 
sent? 

RuMBO (looking back). Never yo' mind about mah 
body, I takes it with me. An' when I wants it any- 
where, I puts it dere mahself, (Goes out, r.) 

(Sam, alane, strikes various attitudes indicating fear, 
anxiety, worry, etc.) 



10 DARK MOMENTS 

RuMBO (outside). O-o-o-oh! 

(Sam runs behind trench. Rumbo enters, running.) 

Sam. Halt! (Rumbo halts.) Where yo' goin'? 
Rumbo {frightened). Ain't goin' nowhere, but, oh 
man, de place I'se comin' away from ! 

(Moves to continue running.) 

Sam. Halt! {Comes from behind trench.) Yo' 
ain't no soldier, man. What you-all running away 
from ? What yo' see out dere ? 

Rumbo. Didn't see nothin'. 

Sam. Didn't see nothin'? An' am dat what you's 
runnin' away from? 

Rumbo. Say, puhson, if you was a-sneakin' along 
in de dark, a-feehn' your way through de woods, wid 
trees, an' rocks, an'— an' more trees all around you, 
all alone by yourself, an' nobody wid you, — an' all of 
a sudden nothin' steps out from in back of a tree and 
grabs you by de neck; an' den, when you yells an' 
starts to run, dat same nothin' jumps on your back; 
say, wouldn't you be scared too? {Through this 
speech Sam is at first interested, and then, when 
Rumbo mentions " nothing " stepping out from behind 
a tree, Sam is amazed, then puzzled, then angry. 
Rumbo continues.) Golly, dat sure were some nothin'. 

Sam. Why, yo' am de most ignorantest puhson I 
ever did see. De phrenology of your somnabuhsm am 
only equalled by de incongealousity of yo' hypotenuse. 
Why, I am willin' to bet a new pair of officer's boots 
against a button hook dat yo' beUeves in ghostses. 
Does yo*? 

Rumbo {zvho has been astonished by Sam's vocabu- 
lary). Does I believe in ghostses ? Does If I'll say I 
does ! Why, Sam, what would yo' say if Rastus 
Ebony suddenly appeared befo' yo' right now? 

Sam. Rastus Ebony? Why, he's been dead foh 
years ! 

Rumbo. I knows it. 

Sam. Yo' know what I'd say to him? I'd say, 



DARK MOMENTS II 

" Rastus Ebony, yo' am dead dese f oh years ; yo' ain't 
got no right a-walkin' round Hke dis." 

RuMBO. An' do yo' know what he'd say to yo'? 
He'd say, " Sam Johnson, I may be dead foh years, 
but foh years from now yo' am a-goin' to be dead 
about foh years an' a half." 

Sam. Why for all dis talk about bein' dead? I 
don't even feel bad. I ain't never been dead — or sick 
in my life. 

RuMBO. Sam, wasn't yo' seasick when yo' come 
over here to France? 

Sam. Was I seasick? Well, if I wasn't seasick, 
I bet I made de sea sick. 

{Several shots outside. Sam starts walking stiffly out, 
to R., his eyes staring and his month open wide.) 

RuMBO. Where yo' goin' to ? 
Sam. I'se goin' back to America ! 
RuMBO. Ain't yo' afraid of gettiu' seasick again? 
Sam. I don't care. I'se goin' while I'se got some- 
thin' to get seasick with. 

{Both exit, Sam holding stomach.) 



CURTAIN 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

GRADUATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in Two Acts, by Ward Macauley. For six 
males and four females, with several minor parts. Time of 
playing, two hours. Modern costumes. Simple interior scenes^ 
may be presented in a hall without scenery. The unusual com^ 
bination of a real "entertainment," including music, recitations, 
etc., with an interesting love story. The graduation exercises 
include short speeches, recitations, songs, funny interruptions, 
and a comical speech by a country school trustee. ' 

EXAMINATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in One Act, by Ward Macauley. Eight mal» 
and six female characters, with minor parts. Plays one hour. 
Scene, an easy interior, or may be given without scenery. Cos- 
tumes, modern. Miss Marks, the teacher, refuses to marry a 
trustee, who threatens to discharge her. The examination in- 
cludes recitations and songs, and brings out many funny answers 
to questions. At the close Robert Coleman, an old lover, claims 
the teacher. Very easy and very effective. 

BACK TO THE COUNTRY STORE. A Rural Enter- 
tainment in Three Acts, by Ward Macauley. For four male 
and five female characters, with some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with- 
out scenery. Costumes, modern. All the principal parts are 
sure hits. Quigley Higginbotham, known as "Quig," a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York. The last scene is in 
Quig's home. He returns a failure but is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and very funny. 

THE DISTRICT CONVENTION. A Farcical Sketch 
in One Act, by Frank Dumont. For eleven males and one 
female, or twelve males. Any number of other parts or super- 
numeraries may be added. Plays forty-five minutes. No special 
|scenery is required, and the costumes and properties are all 
easy. The play shows an uproarious political nominating con- 
vention. The cUmax comes when a woman's rights cham- 
pion, captures th«e convention. There is a great chance to bur- 
lesque modern politics and to work in local gags. Every 
part will make a hit. 

SI SLOCUM'S COUNTRY STORE. An Entertainment 
in One Act, by Frank Dumont. Eleven male and five female 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may be played without set 
scenery. Costumes, modern. The rehearsal for an entertain- 
ment in the village church gives plenty of opportunity for 
specialty work. A very jolly entertainment of the sort adapted 
4o almost any place or occasion. 

THE PENN PUBUSHING COMPANV 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

A SURPRISE PARTY AT BRINKLEY'S. An En- 
tertainment in One Scene, by Ward Macauley. Seven male and 
seven female characters. Interior scene, or may be given with- 
out scenery. Costumes, modern. Time, one hour. By the 
author of the popular successes, "Graduation Day at Wood Hill 
J^chool," "Back to the Country Store," etc. The villagers have 
telanned a birthday surprise party for Mary Brinkley, recently 
graduated from college. They all join in jolly games, songs, 
fconundrums, etc., and Mary becomes engaged, which surprises 
the surprisers. The entertainment is a sure success. 

JONES VS. JINKS. A Mock Trial in One Act, by 
Edward Mumford. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of the 
parts (members of the jury, etc.) are small. Scene, a simple 
interior ; may be played without scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 
features, unusual characters and quick action. Nearly every 
character has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
Act, by Ernest M. Gould. For seven males, two females, or 
may be all male. Parts may be doubled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
of a sight-seeing automobile engages t*' • men to run the 
machine. A Jew, a farmer, a fat lady a.^ ^ other humorous 
characters give them all kinds of trouble. This is a regular gat- 
ling-gun stream of rollicking repartee. 

THE CASE OF SMYTHE VS. SMITH. An Original 

Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom ; requires no scenery ; may be played 
in an ordinary hall. Costumes, modern. This entertainment _ is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
4ny number of good parts. 

THE OliD MAIDS' ASSOCIATION. A Farcical Enter- 
tainment in One Act, by Louise Latham Wilson. For thirteen 
females and one male. The male part may be played by a 
female, and the number of characters increased to twenty orj 

imore. Time, forty minutes. The play requires neither scenery/ 
nor properties, and very little in the way of costumes. Can 
^easily be prepared in one or two rehearsals. 

' BARGAIN DAY AT BLOOMSTEIN'S. A Farcical 

EHtertainment in One Act, by Edward Mumford. For five males 
and ten females, with supers. Interior scene. Costumes, mod- 
ern. Time, thirty minutes. The characters and the situations 
which arise from their endeavors to buy and sell make rapid-firt 
fun from start to finish. 

THE PENN PUBLISHING COMPANY 

i»f:VADELPHLA 



Successful Plays for All Girls 

In Selecting Your Next Play Do Not Overlook This List 

YOUNG DOCTOR DEVINE. A Farce in Two Acts, 
by Mrs. E. J. H. Goodfellow. One of the most popular 
plays for girls. For nine female characters. Time in 
playing, thirty minutes. Scenery, ordinary interior. Mod- 
ern costumes. Girls in a boarding-school, learning that a 
young doctor is coming to vaccinate all the pupils, eagerly con- 
sult each other as to the manner of fascinating the physician. 
When the doctor appears upon the scene the pupils discover that 
the physician is a female practitioner. 

SISTER MASONS. A Burlesque in One Act, by Frank 
DuMONT. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonry. Some women profess to learn the secrets »f 3 
Masonic lodge by hearing their husbands talk in their sleep, 
and they institute a similar organization. 

A COMMANDING POSITION. A Farcical Enter, 
tainment, by Amelia San ford. For seven female char= 
acters and ten or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes, .dsy interiors and one street 
scene. Marian Young gets tired living with her aunt. Miss 
Skintlint. She decides to "attain a commanding position.'" 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. 

HOW A WOMAN KEEPS A SECRET. A Comedy 
in One Act, by Frank Dumont. For ten female characters. 
Time, half an hour. Scene, an easy interior. Costumes, modern, 
Mabel Sweetly has just become engaged to Harold, but it's "the 
deepest kind of a secret." Before announcing it they must win 
the approval of Harold's uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend, 
Maude sees Mabel has a secret, she coaxes and Mabel tells her, 
But Maude lets out the secret in a few minutes to another 
friend and so the secret travels. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 
by Josephine H. Cobb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter- 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort. Alice Graham, in order to 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her. The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles^ furnisb 
an evening of rare enjoyment. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



The Power of Expression 



Expression and efficiency go hand in handc 

The power of clear and forceful expression brings confi- 
dence and poise at all times — in private gatherings, in public 
discussion, in society, in business, 

It is an invaluable asset to any man or woman. It can ofteiii 
be turned into money, but it is always a real joy. 

Iffl learning to express thought, we learn to command 
thought itself, and thought is power. You can have thai 
ipower if you will 

Whoever has the power of clear expression is always sufff 



LIBRARY OF CONGRESS 




'Hie power, of expression leads too 

The ability to think "on your : 

Successful public speaking 

Effective recitals 

The mastery over other mind 

Social prominence 

Business success 

Efficiency in any undertaking 

Are these- things worth while? _ _-_ -_„ _-_ ^ , 

** 017 198 565 1 ( 

They are all successfully taught at The National School 0# 
Elocution and Oratory, which during many years has de- 
veloped this power in hundreds of men and women, 

A catalogue giving full information as to how any of these 
accomplishments may be attained will be sent free on request 

THE NATIONAL SCHOOL OF 
ELOCUTION AND ORATORY 

40 J 2 Chestnut Street Philadelphia 



